In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.

You can believe in originals only if you just don't know their context within literature. Certainly I believe in originality, but it lies with the teller, not the tale.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

It's been very much in the blood since I started imagining films or shooting with 8mm when I was a kid. I made some films and thought about films, but then I went into writing. Becket is something that's definitely on the cards. We have to see where that fits in the schedule, because it's a big picture and I have a lot of writing obligations at the moment. I'm wary of anything with a budget over a certain amount.

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.

My gratitude to Ridley [Scott] isn't anything new. I named one of my kids after him. But he's a very important person to me.

If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.